New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-12-24

anthesn recital Of tho secret Egantnosr dstraught
confession and striking than anywhere else in
the wondrousy pathetic in the third act after
I" Adolarsr desertiOn. Witness also how brilliantly its
colors second the joyous sweeping strains which pub.
fish the glories Of medieval chivalry VIII It ever bo
possible put ioftler sentiment and sincerer OK.
preston into delineation of brave knghthood and its
homage to fair than inspires every bar Of the
first act1 Even "Lohengrin' might be accused Of
heavy footed afectation in comparison. Where, too.
could we turn for more powerful expression of .ndi
vidual character, through tho means Of decamatory
melody than we find in Euryanther and q Eglan.
tine,7 and even the parts whore the degree Of
success did not crown the composers efforts To
wagners honor be 1t said that no denied his In
debedncss Weber, but IL he had, what would have
benefited him whlo the represent atlccs of the live
principle in Euryanthe" and IOhengrln, presented
so obvious parallel not 10 mention the drafts upon
what might be called the external apparatus In S.
many parts OF the score. Somewhat strained, anc
weighted with the fruits OF reflection the music IN.
questionaby is but for each evidence Of Intellectual
stralnng that is offered, how many gems OF highly
emotonalIzed music, real music, true music. cxprcs.
slve music present themselves to charm the hearcr
and with what a delightful surprise does one not do.
ec how the old fashioned cadences and roulaes when
they come, they do with much navete as in No.
Zart, have been infused with dramatic potency nor
before thought Of The old charge Of ncxpectcd
modulations and bizarre rhythms have no force
now, and Adolar'sD romance in the French couplet
style, Euryanthe entrance air with its suggestion
OF the fragrance Of a wdhower, the thrilling duet be-
tween the women, AdOlar'sp triumphant song in thu
second act with tho sweeping phrase that lends such
vivacity to the overture, all these and many other
arc so many sources Of spiritual refeshment.
For tho performance Of the work by the Singer
and instrumentalists OF the Metropolitan speaking 10
general terms, we haze only words of praise. Ths
loving and intelligence bestowed In tho prepara
ton bore tho best Of fruit. specks in the marble Of
the statue might doubtless DO found, but they would
not repay enumeration. Tho spirit Of the perform
ance was profoundly tragic and Fraulein Lehmanns
exhibition, both as to conception and execution mada
It almost impossible to believe, what IS nevertheless
true that she sang the role Of the heroine for frs,
time last night. Tho tender grace and sweet suffer.
ing OF Shakespeares Inogen7 had almost ideal repro
sentation In her singing and acting Naturally it
IN the pathos Of the Wild scene of the mount ain
UudcIously pruned of much Of the absurd serpent
episode posslbe) that she her grandest triumph
but at all times she showed nice appreciation Of the
spiritual contents Of the part Fraulein Brandts i'm
porsonatlon Of the oh Of Ortrud7 In LOhen-
grim be mentioned but I'm words Of praise
and IT have been expected that she would give
powerful Interpretation that parts obvious proto
type, Egantine." She quite carried the house cap
tive with the intensity Of her acting and singing In tha
second scene of Act l., and was four times recalled
AIvary was In good voice and sang with splendid FREE
dom and breadth az Adolar' besides investing tho
character with chvalrIc pride and grace of bearing
Herr Fischers "Lysiart7 completed the quartet Oh
principal performers and worthy Of is associates
vGcaly 1t was superb; another operate bass Of the
sahc calbre Is be found on the stage we verify
be eve. The smaller parts were filed By Herr Elm
blL Klngr Fraulein Dlthey BERTHA and Herr
Fuenczy Rudolph Handsome stage sets were used,
and to relieve the gloom the wedding procession Of
"T.ysiartn and Esantine7 was preceded with baies
in which the waltz part Of Wcber's Invitation IL
yase, was made to do service instead Of the Pas &c
Gina which Weber posed for the first performance
I'm Berlin The evidences Of popular appreciation be-
gan after the overture and recalls followed every Ae
,ba curtaf